The trouble with evil is that it is unpredictable. There are rarely situations in which you can point to something and say “that’s evil” and avoid it; sometimes evil emerges from subtle and unassuming sources – even things that we would normally consider good.

Guy Woodhouse (Cassavetes) is a struggling actor living in New York. He and his wife Rosemary (Farrow) are looking for an apartment that is bigger than the one they live in because they are planning to have a family soon. They find the Bramford on Central Park, a tony address and find the perfect apartment with a gorgeous view that had just become available.

While many of the residents of the Bramford are elderly, Rosemary still has friends from her previous life, none closer than Hutch (Evans), a writer of children’s books. While Rosemary paints and decorates her new apartment, she does meet one young lady, Terry (Dorian), an ex-drug addict who has been taken in as a ward by a couple that lives next door – Roman (Blackmer) and Minnie Castevet (Gordon).

Shortly after that, Terry commits suicide and the Castevets and Woodhouses meet for the first time. The Castevets invite their new neighbors over for dinner afterwards when Rosemary speaks kindly to Minnie about their recently deceased ward. Guy is reluctant at first – he’s just lost out on a plum role to another actor – but he relents and he actually winds up enjoying the company of the much-travelled Roman and his busybody wife.

Despite Guy’s career shortcomings, he and Rosemary decide it’s the right time to get pregnant. Minnie brings over a chocolate mousse that seems tasty but winds up knocking Rosemary out. She has a strange dream afterward of being raped by a beast-like demon. Soon after that, she discovers that she’s pregnant. Her obstetrician, Dr. Hill (Grodin) puts her on vitamins but Minnie won’t hear of it. She’s close with Dr. Abe Saperstein (Bellamy), one of the best-known obstetricians in New York if not the world. She arranges for Rosemary to be one of his patients.

Although Rosemary is suffering from a weird, constant pain, Dr. Saperstein tells her that it’s normal and refuses to prescribe anything for it. In the meantime, the actor that had gotten the part Guy wanted had mysteriously gone blind and the part was now Guy’s. It turns out to be precisely the break Guy was looking for.

Rosemary and Guy are deliriously happy, but all isn’t as it seems, particularly those who seem the friendliest towards them. A monstrous conspiracy is afoot and Rosemary becomes paranoid, particularly when people she knows begin to die off mysteriously. Soon she realizes that she’s alone against a powerful evil, one that wants her unborn baby – but for what purpose?

This is a classic of the horror genre, and in many ways it’s not even a horror movie. Director Polanski, for whom this was his first American film, creates an atmosphere of growing menace that becomes so palpable even the viewer at home gets caught up in it. There isn’t much gore (mostly seen in the death of Terry) and all the violence happens off-screen for the most part (even the rape is more suggested than seen) but still you’re given a firm grasp of the evil surrounding Rosemary and find yourself immersed in her struggle to escape it.

The movie was based on a noted bestseller by Ira Levin which I’ve actually read – the movie follows it nearly word for word (legend has it that because Polanski had never adapted another work for the screen before, he didn’t realize that he could make changes of his own). As the movie progresses, the outcome seems inevitable but still there’s a twist at the end that back in 1968 when the movie was released took audiences completely by surprise – most modern audiences however are aware of the twist simply because it has been so widely associated with the movie since then. That’s a shame because the movie works much better if you aren’t aware how it ends.

Even so, the movie’s main weapon is Farrow. Her performance as Rosemary is so ordinary, so naïve but so completely believable that she nails Polanski and Levin’s vision of Rosemary as the Girl Next Door caught up in a horror greater than she can imagine. By the time she realizes what’s going on, it’s far too late.

Gordon and Blackmer also give fine supporting performances as the Castevets; they have the right attitude to be the consummate New York elderly busybody couple, Gordon’s accent almost Yiddish in places. While the characters are certainly products of their time, they still manage to give off no menace other than in underlying ways that when you look back at the movie, you realize they were creepy all along and you just didn’t realize it. It’s amazing work by any standard.

While this movie is well over forty years old, it has held up well. I watched it again the other night while Da Queen lay sleeping (she finds horror movies too disturbing) and realized that if it had been released last Friday, it would still be just as effective today as it was back then. Horror movies rarely get any better than this one.

WHY RENT THIS: Polanski creates a mood so creepy and troubling that the viewer feels the whole time that something is completely wrong.

WHY RENT SOMETHING ELSE: There is little gore and only a few scenes of outright horror which may not meet the standards of modern horror fans.

FAMILY VALUES: While relatively tame by our standards, it does depict a rape and there is a good deal of talk about female pregnancy as well as a good deal of smoking and drinking. There is also some female nudity. While it received an R rating at the time of its release, I would think that it would be adequate viewing for most mature teenagers.

TRIVIAL PURSUIT: The voice on the phone of the actor who had gone blind, clearing the way for Guy to get the part was an uncredited Tony Curtis. Farrow was unaware who she was talking to, although she recognized the voice she couldn’t place the name. Also, the movie was filmed at the Dakota, the apartment complex on Central Park later made infamous by being the location where John Lennon was murdered.

NOTABLE DVD EXTRAS: The pickings are rather slim. There’s an interesting retro interview with Polanski, producer Robert Evans and production designer Richard Sylbert. There is also an original making-of feature that is fascinating as a historical artifact.